The idea for the cover came to me around the end of the JHI research program. I reflected on what our group created during one of the best months of university life so far tried to integrate our experiences and product into one composition.

This was our first time adding colour to our Draw-and-Write data gathering sessions and the JHiSquares our group collected were complex and multifaceted. As a result, I chose a colour transparent tesseract, or four-dimensional cube torepresent the amount of diversity and depth the iSquare research team has accumulated in the past. This also hints that getting to the bottom of the nature of information can perhaps be beyond our comprehension at the moment. Nonetheless, we continue our research to define it.

The “i” created from binary code at the centre of the front cover composition was typed in OCR Extended and should be recognisable by many machines. It spells out:

In many of the iSquares, I noticed nuances of technology and I began to wonder - how are people perceiving the relation between information and technology? I tried to find frameworks that connects these tow concepts but I found nothing!
So, I chose to create my own model that explores the role that technology plays in people's perception of information!

Of course, first I had to define what I would consider as "technology", after which I began my process of analysis and ... I can go on and on about this endlessly. The prezi below displays the iSquares I chose and how I built my framework around this!

Works Cited:
​
MacKenzie, D., & Wajcman, J. (1985). The Social Shaping of Technology: How the Refrigerator Got Its Hum, Milton Keynes: Open University Press.

I have chosen to use the method of conceptual visual analysis to examine our JHiSquare corpus. I will specifically be using a conceptual framework known as “ The Information Processing Theory” from the discipline of psychology to formulate an approach to visual analysis.

Why take a psychological approach?
A. Cognitive psychology is extremely relevant to information. It accounts for how we attend to, process,communicate information.
B. Look at the corpus! Our participants often visually conceptualize information by using symbols that are often associated with psychology. Ex. Brains, sensory systems.

The Information Processing Theory
The Information Processing Theory was initially conceived by psychologists such as Atkinson and Shriffrin (1968), and later modified by figures such as Craik and Lockhart (1972) (as cited in “Information Processing Theory,” 2015). Cognitive psychologists formulated this theory as a means to better understand the seemingly intangibility of mental processes, such as attention, memory, problem solving, and processing information, etc. (Macleod, 2008). In regards to processing information, the theory outlines the ways in which humans receive and transform sensory stimuli into meaningful information through a series of steps (“Information Processing Theory,” 2015). It poses that rather than passively sensing stimuli in our environment, we actively interact with stimuli as a means to transform various visual, auditory olfactory and tactile cues into information that can be perceived and manipulated. In an attempt to materialize the immaterial nature of this psychological process, the Information Processing Theory uses the analogy that the human mind functions similar to a computer (Macleod, 2008). Like the cognitive processes of the human mind, the technological processes of computers allow them to receive, and modify information.

According to the Information Processing Theory, there are a series of steps that the mind may undergo in order to successfully transform stimuli into meaningful information (Macleod, 2008). Analysis of the JHiSquare corpus can be done by organizing various drawings into one of these three stages of Information Processing.

1. Input Stage: First, an organism must interact with the environment to receive sensory stimuli (Maclead, 2008). At this stage, information is purely sensory and not yet something that organisms can cognitively manipulate or attend to.

3. Output Stage: The last phase of information processing theory. This is when the organism responds to the environment, using the information that they have recently received (Macleod, 2008). Ex. Because an individual receives sensory info about the brightness of the sun, they can communicate this to another individual.

On the Epistomological spectrum, my analytical approach closely follows the interpretivist outlook. This is because the associations I have made between visual images and psychology are socially constructed, and informed by knowledge of psychological concepts, symbols, etc. (ex. we associate brains with cognition). Unlike the positivist outlook, this conceptual analysis approach does not aim to quantifying the content, or formal qualities of the JHiSquares, but instead relies on an understanding of the psychological implications of various graphical representations.This approach is deductive, as one would analyze the JHiSquare corpus using the conceptual framework of Information Processing Theory to guide analysis and interpretation. With conceptual analysis, one automatically approaches the data set with pre-existing ideas of what to look for, and what to attend to. Rather than letting the data jump out at you, this approach requires that the data is viewed with a narrower conceptual lens that allows us to compartmentalize, organize, and analyze the iSquares according to preexisting ideas.Overall, the information processing theory categorizes information as something thatA. Is received from the environment (stimuli carries sensory information)B. is stored (organized, manipulated)C. Feedbacks into the environment through our actions, responses, interactions, exchange.It is a dynamic process that is appropriately suited to this psychological/cognitive framework, however it is important to note that not all iSquares fit into this Information Processing Theory. The major outliers include iSquares that are predominantly composed of text.References:Atkinson, R. C., & Shiffrin, R. M. (1968). Human memory: A proposed system and its control processes. Psychology of learning and motivation, 2, 89-195.

​When it comes to analysing visual works, I was determined to use formal analysis from the start. Formal analysis originated from the theoretical approach of formalism, supported
by literature within the discipline of art history. Moreover, it is well-articulated in foundation training of designers and artists. This approach also nudges me in the direction of a positivist approach. This method of analysis of the collected data offers a more objective approach to what is an already visually creative and diversified data. It also provides insight into work that may not be easily interpreted through a sociological or cultural lens. The slides show some comparisons of how formal analysis can be used to analyse the JHiSquares and significantly, is a method well-suited for assisting the analysis of the Draw and Write technique.

INDUCTIVE VISUAL | CONCEPTUAL ANALYSISSydney Bradshaw
​
I tend to beinterpretivistand favourinductiveapproaches to visual analysis.I started off by looking over the iSquare, paying attention to any patterns that jumped out at me. I also noted any instances in which I saw common themes between different squares. Though I didn’t have an initial framework in mind, I found myself piecing together a system of categorization based on the thematic content I found within the images. My methodology proved to be a hybrid of Buckland’s conceptual analysis, thematic analysis and a bit of content analysis to provide structure to my discoveries.Overall, I found that looking at the squares before setting up a stringent system to organize them with allowed me to think outside the box and approach interpretations of the squares that I wouldn’t necessarily have made under a rigid system.Initial qualitative observations that I made:

39 iSquares, most with colour but some without

Words used frequently, both as descriptors and as parts of the diegetic image

Developed tangible vs intangible and then more subcategories; inspired by conceptual analysis (information-as-thing, etc.)

Intangible -> information as a metaphor, a concept, an abstraction, etc.

Tangible -> information as an object / multiple objects, a system

From there, I could look at each individual square and find the best approximation of what I thought it was trying to say about information, aided by the text on the reverse side. I also thought about the use of colour, making note of the uses of colour in objects especially and how said colour compared to real-life colourings of the same object (eg JHI-018 uses mostly true to life colouring, whereas JHI-001 is far more colourful in its interpretations).Potential Problems:Of course, there were some outliers that didn’t quite fit into either category, namely, squares that were made entirely of text (eg JHI-014). I also realized that it would be entirely possible for any of my interpretations to be extremely subjective and based on my own experiences and understandings of visual/textual culture.BRIEF TEXTUAL ANALYSIShttp://www.writewords.org.uk/I also decided to gain some context on the images by looking over the demographic information on the back of the iSquares. As I did this, I noticed several words that appeared multiple times. I ran a ‘Word Frequency Counter’ on the excel document that we used to store said information and outlined below the words that appeared 5 or more times in our group of 39 drawings:

Of course, this is not an exhaustive list and there were words that also appeared 2, 3, and 4 times that would be interesting to investigate in the context of the drawing associated with each.

DEEP LEARNING | THE FUTURE DIRECTIONSicily Shi

Using Google’s Deep Learning algorithm: Artificial Neural Networks that mimic human brain neurons, this system can constantly learn and improve on it’s own by being exposed to more and more data - this process is called “training” (similar concept as how AlphaGo was developed).

​In this project, we used an already trained deep learning system, the output image is not simply a mixture of the original drawings; instead, it shows a new perspective, that is “how information itself think what (human think) information is”

As the AI technology advances, we will eventually be able to feed millions of iSquares into the system along with text descriptions, and ask it (or her?) “what is information?”

Beginnings of the JHiSquare Protocol

Data Collection, Debriefing, and Data Management

​Developing a script to guide our data collection session was the starting point of our collaborative efforts on the iSquare team, and therefore, many decisions were made at this stage. First, Professor Hartel and the iSquare team provided us with a script that we used to guide and inspire our own approach to addressing the scholars participating in our study. We felt that many features of this pre-existing script were essential to include in ours, such as the background information on the iSquare protocol, our methodological focus on arts-informed research, as well as the ethical guidelines central to participant-driven studies. Some new features we included in our JHiSquare script were a series of thought-provoking questions about information, as well as a verbal request for participants to refrain from using their cell phones or any aids during the session. Both of these decisions were made in an attempt to create a more immersive and contemplative atmosphere for our participants.​Here are some of the questions about information that we included in our script:·How is information conveyed and presented?· Where does information exist?· Can information be a catalyst?· When do you need information?

(Credits to Mahika for these incredibly inspiring questions!)

In addition to formulating a script for our study, perhaps the most significant consideration we pondered as a team was regarding the materials that we would feature in our session. Since the JHiSquare protocol was the first to feature colourful drawing instruments among conventional black pens, we initially felt inspired to include a variety of colourful media in our study. Some of the materials we considered were pencil crayons, crayons, oil pastels, and markers. However, after further discussion, we feared that drawings executed with certain materials, such as oil pastels and crayons, would smudge upon the collection and storage of data. Thus, we decided to abandon the inclusion of crayons, and oil pastels to avoid compromising the integrity of our data. In order to ensure more control and consistency among media, we decided to only feature black pens, coloured pens, and coloured markers as materials in our study.

Lastly, upon the recommendation of the iSquare team, we decided to use paper tablecloths to cover the table surfaces that the participants worked upon. By doing this, we hoped to create an inspiring, carefree, and creative environment that provided participants the opportunity to liberally experiment with the diverse materials provided.

How is information conveyed and presented?Where does information exist?Can information be a catalyst?When do you need information? - Mahika Phutane -

​The Physical Environment

How Space Affected Data Gathering​Initially, we were going to use Wymilwood Lounge at Victoria College’s Goldring Student Centre to conduct our research gathering. However, when we went to look at the space, we discovered that it lacked the furniture items we needed - namely, tables. The SiR also had a presentation in the space directly before we were going to be using it, making set-up very difficult. Due to these factors, we chose to move our research gathering to Burwash Hall.

This move benefited us enormously - the space is huge and allowed for us to use the large dining tables. We also had the advantage of the windows which line the hall on both sides, letting in significant amounts of natural light that aided in alleviating the clinical feeling often associated with research gathering. The space is also where we eat communal dinners during the program, which seemed to have contributed to a more relaxed atmosphere. We set-up the space by moving chairs around four large tables. We further divided the tables in half by running a piece of tape across the center. This allowed for us to divide our materials between the two sides and avoid hoarding.

The Social Environment

Immediate Observation

Completing the iSquare Protocol as in a closely seat group provides more opportunities for participants to interact with each other.

Invisible Factors behind ​the iSquare Production

​Drawing, as opposed to writing, contains a social dynamic which is an important part of arts-informed research. When writing, the quality of the response is difficult for peers or researchers to judge at once the glance. But when drawing, especially with the enlarged iSquares and the plethora of colours, there might exist an innate tendency to want to impress the viewer. This is shown through the comments that several students made during the data gathering session, which expressed jealousy for people that could draw (jokingly, of course!), or their own inability to draw. These comments were sometimes self-assured, or assured by peers that they should try to express something creative either way. This dynamic of slight peer pressure, perhaps led to richer and deeper results in the iSquares!

Participants were generally seated very close to one another which may have had an impact on the final results. There were some participants who wished to share their work with their peers, or comment on their peer’s drawings, whereas there were some participants who hid their work from others in attempt for privacy, but also to concentrate on their own drawing. Hence, it is difficult to say if an iSquare is original or if it is influenced by the ideas of the participant's neighbouring peers. An example we noticed relating to this factor was when a participant handed us their completed iSquare early, and other 2 participants from the same group followed. No other participants except these handed their work early, so we can perhaps see the influence at play.

Thus, social factors as such were an equally important part of the production and the gathering of this data, and should be made aware when analyzing the data produced.

First Impressions of ​the Beautiful iSquares

This week was fun and busy. On Monday we had our “Big Day” which we organized other JHI fellows together and collected their drawings of what is information. We tried to create a welcoming and comfort environment, and prepared for anything that might go wrong. To my surprise, the time seemed to passed so quickly and the entire process was very smooth. Everyone was so concentrated and engaged in their drawings as if they were taking an exam. We feel very appreciated for their effort and support.

This is our first attempt using colour pens and larger squares in the study. Initially we were worried if most people would just stick with one colour anyway because it is the easiest way to work on. However, it turned out that the drawings were so beautiful and multi-coloured, and it seems that the coloured pens and large space inspired their creativity! Compared to the old iSquares, I was impressed about how pretty they are in terms of the visual representation, and how rich they are in terms of the content on each iSquare. There are only 39 images in total, but all the responses are very diversified. Some depict information as pictorial metaphors such as a web or an eyeball, and some also have similar ideas as mine that drew information as knowledge. Many of them also drew complex and abstract patterns that fill the entire graphic space. As I looked them over and over again and it is hard for me to pick a favourite one.

The introduction of colour in this study brings new inspirations, but at the same time brings more questions. For example, would people associate meanings to a particular colour? Would the textures of different pens communicate different things? These are the questions we have to consider during the data analysis, and I feel quite excited about taking this new challenge as a team, and come up with my own unique way of analyzing them. ​

Data Management

Facts and the Future The latter half of this week focused on the data management of newly collected iSquares. Stephanie Power, the Data Manager of the iSquare Team, provided the JHI Fellows with an overview of how the iSquare Team developed its strategies to manage the growing quantity and complexity of data and the range of storage options available for preservation.The iSquares collected from our data gathering activity with the other JHI members were then labelled, scanned and recorded in our following process. This management activity was conducted in the University of Toronto Library, using the scanner and computer programs available to the group. Stephanie Power emphasis the digitization of the collected iSquares to the archival quality; thus, requiring a higher print resolution of the scanned material. The cropping and final export of the iSquares were completed in Adobe Photoshop and then uploaded into the cloud. ​The process may be less active and more repetitive than the data gathering stage as we are only labelling and digitizing the iSquares. Nonetheless, the group was introduced to the inner workings of data management for the iSquare team and uncovered valuable insight into the significance of having an organized and accessible data management system. Writing from retrospective, this stage can be viewed as a short and dry part of the iSquare project, but it is the reason why the iSquares are still accessible geographically and periodically. Without these systems in place, the projects would be disconnected between each sampling and further analyses would be impossible. Moreover, as the iSquare project is prepared to keep their data accessible in the future, adds another layer of the functionality of information onto the information we collected. Every step of organizing the data collected needed to be thoroughly evaluated and designed with the future in mind.

As I translated the images that conjured in my mind for “information” onto my iSquare, I suddenly realised how broad and all-encompassing “information” can be. Moreover, how closely I associate information with my conceptions of technology and empirical facts. From the order of image-construction, I observed how I prioritize accessing information through the internet and wireless-technology as to paper sources, even if it included multimedia content, as a secondary method. The vision of the global connect was instantaneous, suggesting that I see information as weighted force of connection. Following that was the addition of a newspaper, consisting of text, images, and animated/moving images, revealing my emphasis on seeing news as information whereas the construction of the book near the bottom seemed less prioritised with less clarity in its purpose.​On the periphery of the central focal area, a number of symbols also suggest additional ways I attempted to define information. There are two profiles with a WiFi icon linking the two heads across the globe. The wide angle of the arcs references a rainbow, suggesting an upbeat attitude towards information. The bottom is stacked hierarchically with symbols, comprising a binary code, a cloud symbol, a information logo (often seen on maps), and a row of biological features symbolising how humans identify sensory information. This suggests while I recognise information can appear in digital and physical forms, the basic process to intake information is dependent on our biological abilities and limitations. The text on the back of my iSquare is very limited with only individual words to help clarify some of my drawn icons; thus, less significant in this case. From a self-conducted session of the iSquare protocol, I unveiled my perception of both a hierarchy of physical forms and the subsequent significances and meanings of “information.”

Stephanie's iSquare

RESPONSE TO "WHAT IS INFORMATION?" Stephanie Posa

Prior to explaining what information is to me, I would like to describe the iSquare I drew during my participation in the iSquare study.

My iSquareThe iSquare that I produced during our study was characterized by the application of various formal elements, such as line, shape and space to the seemingly “immaterial” concept of information. I drew information as a pattern that emerged from the lower right corner of the iSquare, which was comprised of small circular and spiral-like shapes that overlapped and grew upon each other. This miniscule pattern eventually gave way to larger circles and swirls that rose upward towards the center of the square. As the pattern rises from the bottom of the square, the circles and swirls become more repetitive and interact with each other in more complex ways. I strived to convey information as a process that begins with fundamental qualities, such as shape and line, and eventually grows into an entity that relies on larger, complex patterns and spatial interactions.

​What information is to meAs I was drawing my iSquare, I knew that the shapes and lines that I used would be organic, featuring curves and a sense of fluidity as opposed to discrete and geometric transitions and patterns. The decision to use organic qualities resides with my belief that information is a natural entity that has the potential to grow and multiply in the same way that we grow. I believe information is inevitably, and naturally a “human artifact” that can only exist through our ability to attribute meaning and value to what would otherwise be meaningless stimuli. When I considered the ability that information has to deliver and communicate ideas, patterns, data, etc., I also visualized information as a concrete and material entity that can indeed inhabit, and grow within a space. My drawing synthesizes these two notions regarding information—that it is a natural phenomenon that can only ascribe meaning through living organisms, and that it can travel, communicate, and grow in a way that is similar to concrete, living matter.

Sicily's iSquare

MY UNDERSTANDING OF INFORMATIONSicily Shi

I applied this project with the curiosity of “what is information?”. It seems to be such a simple question, but it turns out to be so hard to actually answer it. Even with an in-depth research on the definition of information, the answers would still be different depending on the approach that each scholar takes. What should we do?

One the first day of this program, everyone from our team acted as participants in this art-informed research and we were asked to draw information on a piece of paper. For me, information is the knowledge that is consciously or unconsciously stored in our mind, and we need to encode it before we can retrieve it and use it. To visualize it, I started my drawing with a cartoon person who has a big head, and the information is depicted inside the head. However, as internet becomes increasingly accessible in our daily life, information is the knowledge that is “out there” online and we can use it easily at anytime. When we know how and where to find knowledge, we put less effort to store information. While thinking about that, I drew a bubble attached to the head and put logos of Google, Facebook and other online resources within the bubble. Below is an example of my drawing—the initial understanding of information as I entered the program. (*This is not the official iSquare paper)

​But that was just one of my understanding of information that I decided to draw on the iSquare. To be honest, the very first thing that came to my mind is the icon “i” (stands for information centre) that is readily seen in schools, shopping malls and other organizations. Although I did not draw it, it is worth questioning why it is the first thing that came to my mind. To extend the question a little bit, I am curious about what influences the way we think about information? And what influence how we decide to draw information? I have some psychology background, so I am more likely to think information as something like memory that is encoded, stored and recalled through people’s mind. Would a computer science expert be more likely to think information as series of codes and programs? There are so many interesting questions related with this research and I look forward to exploring even beyond one month of iSquare program!

MY INFORMATIONMahika Phutane

The title is really misleading, maybe I shouldn’t be using possessive pronouns because who can really own information? Can information really be mine? Or is it a global, yet invisible collection of things we’ve learned that we simply access without ownership? This collection of things is ever-growing and ever-changing, but if it isn’t mine, how can I possibly know what it is? I think I might be getting meta but in all honesty, the task of trying to define information only succeeds in limiting the field and its encompassing value! Perhaps this is why the research of iSquares was developed- it is difficult albeit, not impossible, to describe information in words, but would an artistic medium open up a new meaning behind information? Would a visual conveyance be easier to grasp?

However, when placed in the shoes of having to visually represent information and generate my own iSquare, I was at a loss of … perception. My mind was a blank slate. But slowly, ideas began to form and I realized, that at that particular instant, I was using information to decide on what to draw. In a broader sense, I began to view information as a tool that helps us to make decisions. Information is almost always generated with a purpose. This purpose is what defines information, as information is essentially formless or meaningless unless and until it is acted upon. Thus, I saw the value of information through its decision-defining abilities.

Another quality I found about information is its relation to nature. This implies physical nature, human nature, or even natural phenomenon. Information stems from something natural, an occurrence in the natural world, and hence, when drawing my iSquare, I decided to draw a fork in a naturistic trail. This symbolizes the concepts of decision-making, as well as the notion that information is rooted from nature. With these initial perspectives of information, I look forward to delving into iSquare research and beginning a self-reflective journey as to what information is to me, as well as what information means to world.

Sydney's iSquare

INFORMATION AND SYDNEY​Sydney Bradshaw

The iSquare Research Project’s asks participants a simple question – “what is information?”. In the week I have been a junior fellow on the team, I have come to understand that the deceptive simplicity of the question hides an incredibly complex web of different answers.

I was first drawn to the project by the sense of provocative confusion that I felt when I read through the history of the project. As someone who enjoys a challenge, I found myself motivated to take part because of the project’s open-ended nature – it is dynamic and relies on interpretation in a way that linear and causally-oriented research projects are not. I was, and continue to be, completely fascinated by the seemingly endless different understandings of the word ‘information’, a concept that we use constantly without a definitive definition.​

On our first day of the program, each of the junior fellows were given our own iSquare in which to answer the question “what is information?”. My drawing ended up being quite indicative of how I tend to function cognitively, and I had no awareness of it. The word ‘information’ immediately made me think of the word in connection with people, specifically in how we parse out understandings of our physical and mental environments by gaining knowledge. Therefore, I decided to draw the outline of a human head, with a crudely-drawn brain inside of it. Outside of the head, I drew a dark cloud. On the brain I wrote “things I know”, referring to the brain as the place in which people store information. On the cloud I wrote “things I don’t know … but could”, referencing knowledge that exists outside of an individual. The latter part of this sentence is intended to illustrate information as something that can exist both externally and internally of people, but that it is able to move freely between these two states. Overall, I found that I depicted ‘information’ as intrinsic to cognition and something that can be gained and lost.